Baltimore Pictures Walt Disney Pictures A LITTLE PRINCESS Screenplay Adaptation By Richard LaGravanese te Based On The Novel A LITTLE PRINCESS By Frances Hodgson Burnett August 23, 1990 Revised First DraftFADE IN: THE BEAUTIFUL, SONOROUS VOICE OF AN INDIAN WOMAN TELLING HER STORY; INDIAN WOMAN (VO) A very long time ago, when the sun sat higher than it does now, there was a beautiful princess in a mystical land known as ... India... ON "INDIA", CAMERA FADES IN: To a breathtaking VISTA of INDIA'S COUNTRYSIDE... (We INTERCUT PANORAMIC IMAGES as the INDIAN WOMAN continues: INDIAN WOMAN (VO) ++:Now, she was married to the handsome prince Rama, who had been banished to the enchanted forests by his jealous step- mother Queen Kaikeyi...But the brave princess loved her prince so much, that she cared not if she had to live in the forest with the tree and wood spirits...And so, she went with him. CUT TO: EXT. FORESTS - DAY. Rays of sun light pierce through the trees as exotic birds cry out in the distance. INDIAN WOMAN (VO) Now one day, Prince Rama had to leave his princess to hunt for food. But he was much afraid to do so because, at the other end of the forest, lived the evil and powerful Ten Headed Demon, Ravana - King of All Demons. A LITTLE GIRL'S VOICE emphasizes: LITTLE GIRL (VO) A ten headed demon! EXT. LAKE - DAY. A great lake surrounded by green hills. INDIAN WOMAN (VO) So, to protect the princess in his absence,INDIAN WOMAN (VO) Rama drew a circle in the ground and said to her, "This is a magic circle - so long as you stay inside the circle, no harm can come to you"...The Princess promised she would stay there and kissed her prince goodbye. cur To: EXT. HILL STATION IN SIMLA - DAY. An expansive mansion surrounded by manicured grounds. Elegantly dressed BRITISH LADIES and GENTLEMEN stroll about, or enjoy cool drinks served to them by INDIAN SERVANTS in the shade of giant trees. Expensively dressed BRITISH CHILDREN run and play games. INDIAN WOMAN (VO) That night after the prince left, the Princess heard a horrible cry from deep in the forest. It was a cry for help. It said ' Quick, come quickly...I am in great danger. A BRITISH GENTLEMEN snaps his fingers for service... cur To; EXT. INDIAN QUARTERS AT SIMLA - DAY. The living quarters of the INDIANS at the bottom of the hill are nothing like their BRITISH masters - simple stone buildings admist dry earth, nothing green, no trees to protect them from the sun. Children play in rags as their parents clean clothes or carry supplies up to the main house on their backs... Goats and chickens live among then. INDIAN WOMAN (VO) :+.The Princess, thinking it is her Rama who is in danger - and loving him more than she loved herself - runs from the magic circle to answer the cry. LITTLE GIRL (VO) Oh no! CUT TO: EXT. A SMALL POND - DAY. A young Indian boy, LAKI, sits in the pond cooling himself off with the help of a BABY ELEPHANT named SIVI...SIVI showers theboy and himself beneath the hot sun. CAMERA PANS TO A SOLITARY TREE by the pond; 2 Beneath this tree, sits an Indian woman wearing bangles on her wrists and ankles. Her name is SITA and she is telling the story.. SITA The Princess runs deep into the forest following the cry for help. She calls out for her prince but he is no where to be found. Instead, she meets an old beggar man sitting hunched over by a tree, holding an empty bowl. He asks her for some money to eat. Being a good princess, she can not refuse... So...she looks through her bag... cur To; The attentive, enraptured face of SARA CREWE, the little girl. SHE stares at SITA with intense concentration. Although not. classically beautiful, SARA has an extraordinary quality - a brightness in her blue eyes that matches the fire of her reddish hair. A boldness and intelligence that seems far beyond her ten years. It's that quality of youth which combines an @ unquenchable interest in the world around her with an infinite capacity to be amazed and held in a state of wonder. SITA .+.takes out a coin...raises her head to hand it to the beggar... and suddenly.. SARA (interrupts) Suddenly the beggar is gone! He's turned into the ten headed demon Ravana and he grabs her and runs to his castle in the forest where he intends to make her his bride. PAUSE. SITA is peeved that SARA guesses correctly. Off to the side, LAKI and the ELEPHANT are coming out of the pond SITA If you already know this story Sara Crewe why do you make Sita tell it to you again and again? SARA Because I never get tired of hearing it.SARA lays on her back. CAMERA C.U. on her: SARA It sounds so wonderful - living in a world of magic circles and monsters, who fall in love. I sometimes wish I would get captured and imprisoned so I could get save by some prince. Did you ever know a real prince, Sita? SITA Yes...Laki's father. THE BABY ELEPHANT'S TRUNK sweeps from 0c, nudging SARA - wanting her to pay attention. SHE casually pushes it away. LAKI I thought he was in the arny? THE ELEPHANT'S TRUNK keeps nudging her. SARA knocks it away nonchalantly as she continues: SITA He was...and he was my prince. And I was his princess... SIVI, the ELEPHANT, sweeps SARA with it's trunk as if stroking her. SARA stands to stroke the elephant back. SARA But’ I mean real princes and princesses. SITA All women are princesses...It is our right. SARA smiles, as she strokes SIVI. SARA I like that! CUT TO: EXT. HILL STATION AT SIMLA - DAY. SUPER: SIMLA, INDIA...AUGUST, 1914. SARA, riding on top of SIVI, is being lead to the rear of the mansion by little LAKI.. Many of the BRITISH shoot disapproving glances....TWO ENGLISH LADIES sitting beside each other whisper:BRITISH LADY ONE How can that charming Captain Crewe have such a disagreeable child? BRITISH LADY TWO The mother was an American, you know. BRITISH LADY ONE Oh well that explains it. JEALOUS BRITISH CHILDREN, led by snotty CLARA PIDESON, crowd around SARA and SIVI, as SIVI pauses to drink from a pool of water. SARA dismounts with LAKI's help. CLARA Get that smelly animal out of here this instant. SARA I will not. He's thirsty. CLARA I wasn't referring to the elephant. LAKI bows his head in shame. CLARA and the others laugh as they walk away. SARA is steaming with rage. SHE walks straight up to CLARA, who gives her a superior stare. CLARA If you don't get him out of here, I'm calling my mother and she'll get rid of him. SARA, with a mad gleam in her eye, RAISES HER ARMS and BEGINS to SHAKES HER HANDS UP AND DOWN CLARA'S BODY as SHE CHANTS IN PIG INDIAN... CLARA doesn't know what to do. LAKI and the others watch in wonder. CLARA Stop that! Stop it! What are you doing? SARA stops and gives CLARA a calm explanation. SARA I just put an ancient curse on you. When you turn twenty all your hair will fall out and every time you talk it will be backwards so your name won't be Clara Pideson it will be Aralc Nosedip. PAUSE. CLARA starts screaming. AAAAHHHHHH! !!SARA realizes she may have gone too far. The ADULTS run out of the main house - among them, CAPT. ANDREW CREWE - the handsome, dashing young father of SARA. HE is a good man, benevolent yet strong, a compassionate and honorable man. HE sees the commotion and knows at once his daughter is in the middle of it. HE whispers to himself with a slight grin: CREWE Sara...what now? The ADULTS gather around the children as SARA tries to comfort: SARA I'm sorry....I'm sorry....I'm sorry... CREWE Well now...what seems to be the trouble? CLARA'S MOTHER I'11 tell you what the trouble is Capt. Crewe. It's the lack of discipline you exercise on that child. Sara is forever tormenting the other children. CLARA puts on her best tormented face. SARA scowls. CLARA SHE PUT A CURSE ON ME IN FRONT OF THAT BEASTLY SERVANT BOY! CREWE Sara, is this true? CLARA'S MOTHER Abusing an English child for mockery's sake in front of an inferior can only lead to trouble. I think it would be a grave injustice to give the child leave without the proper punishment. CREWE, quickly sizes up the situation, eyes little SARA. CREWE Sara, I think you should apologize to Clara. SARA steps up to CLARA. SARA I'm very sorry for putting a curse on you that makes you lose your hair.CLARA feels vindicated and walks away. C.U. on SARA as she mumbles inaudibly: SARA I should have used the one that made you lose your voice. EXT. THE GROUNDS OF SIMLA - DAY. CREWE takes an afternoon walk with SARA. CREWE (Jesting) What I am do to with you young lady. You really should watch that temper of yours. SARA I'm sorry Daddy. Really. It's just that people like her make me so mad. She's always looks likes she's smelling something awful she's just stepped in and that YOU'RE the something awful she's smelling... (CREW tries not to laugh) I'm forever checking my armpits when I'm near her...What's that word she makes me? CREWE Self- conscious. SARA Right. I think there should be a law against making people feel self conscious. CREWE Well, she won't be bothering you much longer. HE stops and kneels before her. CREWE Summer's ending faster than I thought. You'll be away at school soon. SARA (wrapping her arms around him) Do I really have to go Daddy? SARA Why can't I go to school here? why do I have to go to America?CREWE There are no proper schools for proper young ladies here...And that's what you'll be soon, whether I care for the idea or not. SARA Well, can't I go to school in England - at least we'll be closer to each other. CREWE England'll be no place for a young girl until this war is over. Besides, you'll be going to the same school your mother went to when she was your age. In a city called New York. SARA New York...What a silly name. CREWE I hear it's a silly place. EXT. INDIAN VILLAGE - DAY. The Indian Mall - a collection of stalls where merchants sell a variety of goods, is crowded with both sellers and buyers alike. Through the crowded streets, CAPT. CREWE is being carried on a tonga (a rickshaw) to a building marked UNITED SERVCE CLUB. cur To: INT. UNITED SERVICE CLUB - DAY. A private club for the British gentry, it includes a bar area, a lounge, a message/Western Union desk and a large main room where gatherings are given. Many British officers and their wives mingle over drinks. CAPT. CREWE enters the club and heads for the message desk which is manned by an INDIAN named Haresh. HARESH captain Crewe! Good afternoon! CREWE Afternoon! I'd like to send a telegram to America, please. As HARESH gathers the necessary papers, CREWE reads the headline of a newspaper lying on the counter:©.U. ON NEWSPAPER HEADLINE... AUGUST 12: BRITAIN AND FRANCE DECLARE WAR ON AUSTRIA AS WORLD CONFLICT WIDENS....German Troops Maintain Stronghold In Belgium: HARESH returns with paper and pen: HARESH Yes..and where is it going? CREWE Miss Minchin's Seminary for Young Girls 550 Gramercy Park, New York...The message is..leaving India August 13. Will arrive New York August 30 in time for Autumn semester... A group of officers gathered around a radio, listen to a broadcast 0.S. CREWE is drawn to them... CREWE Wait a moment... CREWE steps towards the officers's radio to listen ANNOUNCER (V.0.) -.-When asked about the encroaching World War with Eastern Europe, Sir Edward Gray had this to say: EDWARD GRAY (V.0.) "The lights are going out all over Europe,.... we shall not see them lit again in our lifetime." CREWE and the officers are paused in silence. EXT. LAKE - DAY. The beautiful lake beneath the mountains, we saw earlier in the credits. SIVI cools himself off by showering with his trunk. LAKI sits on top on him, watching SARA as she balances herself on a log, drifting in shallow water. LAKI Don't look down! And keep your arms out to both sides. SARA heeds the instructions, as she carefully walks across the log...She begins to shake and catches herselfLAKI Keep your arms higher! SARA oh, that's not it - it's all these pantalettes and ruffles. SHE turns and leaps onto the river bank. SHE begins to strip off her pantalettes and underpants from beneath her skirt. LAKI (shocked) What are you doing? SARA It's not fair. I don't see why boys can wear one thing underneath while girls have to wear an entire drawer full. (having taken off her undergarments) There, that's much better. LAKI looks around, hoping nobody saw that. SARA steps back onto the log and deftly walks across it. SARA See! That made all the difference in the world. Now show me how to stand on my head. LAKI I don't know. The Gods might be offended by a woman in such a position. SARA Oh don't worry. Just let your Gods talk to my God - I'm sure they'll work it out. SIVI,UP! SARA sits in SIVI's trunk. SIVI elevates her above his head so that she can climb onto his back next to LAKI. SARA How do we begin? LAKI Well... (stands) You must think of a string that goes from the top of her head to the bottom of your toes...You make a triangle with your hands and your head...LAKI (bends over onto head) then you must think of this string being pulled up through your feet. (raises legs above him) straight to heaven... HE is now standing on his head atop SIVI,. SARA is delighted. SARA Oh, that's wonderful. Let me try. Make a triangle...Think of a string. . (she bends down, onto her head) from my head to my toes... being pulled up..... (She raises her legs) EXT. THE ROAD THAT LEADS TO THE LAKE CLARA and her MOTHER are begin driven in a tonga by an elderly Indian. CLARA spots SARA and LAKI: CLARA Mother look! The tonga stops and CLARA'S MOTHER rises to see: LAKI and SARA stand on their heads on top of SIVI, giggling. SARA'S skirt hangs about her neck, with her bare bottom staring up at the sun. CLARA'S MOTHER SCREAMS and faints back into the tonga, her weight causing it to lean backward, raising the elderly driver off the ground as he holds onto the steering poles. CUT To: EXT. CREWE GRAIN CORP. - PLANTATION - DAY. CREWE arrives in a tonga past a sign which bears his company's name. CAMERA PANS UP to reveal the expanse of a wheat plantation manned by hundreds of workers. CREWE steps out of the tonga and walks towards the open field. HE stands for a moment, taking in this beautiful sight. We see both a great pride and a great sadness overtake him. His foreman HARI appears by his side. HARI Come to say goodbye once again, sahib?CREWE I suppose so...It's funny how a place can feel more like home than where you were born and raised....Have those orders from Cornwall arrived? HARI Yes, I have them in the office. would you like to see them? CREWE No, no...you're in charge now Hari. I just came to leave you the information on my regiment, should you need to contact me. Although, depending on how heavy the fighting is - those opportunities may be limited. HE looks out onto the plantation one last time. HARI knows what he is thinking and says comfortingly: HART You will be back, Crewe sahib... This I know... CREWE places his arm around HARI, and the two stand in silence before the land. cur To: EXT. A TEMPLE IN THE TEA GARDENS - DAY. CAMERA REVEALS miles and miles of meadow, known as TEA GARDENS = framed by snow capped mountains all around. SARA and LAKI walk through the ruins of a temple on the outskirts of the field SARA I'll miss it here Laki. My father says India is the only place on earth that stirs the imagination. LAKI What's this..ima...nation..? SARA (giggles) Imagination...Making things up. or telling stories. How can we tell if spirits are here?AKI (worried) oh I'm sure they'll let us know! SARA You're not afraid, are you? My father told me that spirits are friendly and good. They watch out for us.. My mother is a spirit...and my little baby sister that I never knew.... LAKI No..don't go any further. There are snakes in here, I'm told. SARA (slightly worried) Really? (brushes it off) My father once told me a story about a maiden trapped in a dungeon full of rats but they never hurt her because she would sing them a song. A noise indicating something moving nearing the stones startles LAKI. LAKI It might be a good idea if you sing now. SARA I'll sing the one your mother taught me. SARA begins to sing a beautiful SONG (an original song to be composed for the film, an Indian Folk song with English lyrics) - her voice is tender and sweet.... LAKI I think it is working, missy sahib. SARA continues singing when suddenly a GREAT BREEZE swirls the leaves around her, and causes the trees to sway. It is as if the earth around them were suddenly filled with life. SARA stands. SARA Listen Laki...The wind is singing back. I wonder what it's trying to tell us. cur To: EXT. CREWE MANSION - NIGHT.SARA's house sits beneath a stunning midnight blue sky. cur To: INT. SARA'S BEDROOM - NIGHT. SARA'S room is crammed with every concievable toy - rocking horse and doll house, teddy bears, train sets, tea sets, building bricks. Packing boxes fill the room - some sealed, some half full. SARA is fast asleep. CAMERA PANS SLOWLY into C.U. as we glimpse into SARA'S dream world to see her powerful imagination at work in visuals: DREAM SEQUENCE: Eerie sounds signal the image of a MAGICAL FOREST to superimpose itself on her C.U....Until finally, the image bleeds into the other and we see: The forest is full of vibrant colors. A PRINCESS runs through the forest as SPIRITS dart in and about the trees around her. The spirits are playful and friendly - taking various shapes and shades. The princess tries to catch them, but they are too quick for her. She laughs. She kneels down beneath a tree made of glistening, golden vines and DRAWS a CIRCLE in the ground with her finger. She lays inside the circle and drifts off to sleep. A shadow of a man appears over her. His hand comes into frame and gently touches her arm: cur To INT. SARA'S BEDROOM - NIGHT (REAL TIME). A man's hand from 0.S. gently reaches for the sleeping SARA. superimposing itself on the dream image until the dream is gone SARA awakens to find her father sitting beside her. She smiles: CREWE I'm sorry I woke you. SARA No. I'm glad you did. CREWE I didn't mean to come home so late on our last night... SARA It's all right...You're here now.They speak almost like lovers CREWE Big day tomorrow. Almost like going on an adventure, isn't it? (SARA nods) You were little the last time you were on a boat. CREWE acts as if he wants to paint a bright picture of the future, but his painful feelings of separation come through. CREWE I promise we'll spend every minute together until we reach New York...All right.? SARA All right SARA notices several brightly wrapped gift packages on the floor. SARA What are those? CREWE Well...I had planned to give them to you in the morning before we left. SARA Can I open them now? - I'm wide awake. CREWE All right. SARA leaps out of bed and kneels before the packages. SHE unwraps the smallest first: It is a beautiful gold locket on a long gold chain. SARA opens the locket and finds two pictures : one of her father, the other of her mother; whom we immediately recognize as the princess from her dream SARA Mother. CREWE I gave her that locket when I proposed I had planned it to give to you on your wedding day but...well...I couldn't wait. SARA oh it's beautiful...Thank you... CREWE sits beside her on the floor and excitedly shows her the next one: 15CREWE B Open this one next. SARA unwraps a book. CREWE I'm rather ashamed of this one, actually. It's the book I stole all the stories I tell you that I pretend to make up.... The title reads: BANCROFTS TALES OF FANCY. SARA oh but now I can tell them to myself as if your there...Except I'll never be able to do all those voices as good as you. Especially the monsters... CREWE Well, the monsters have this sort of (nasal tone) squeaky, nasal quality.. HE wrinkles up his nose and speaks the last line in a nasal voice SARA mimics him... SARA € (nagaily) Like this CREWE (nasally) A bit more wrinkled..."0h cursed prince, thou hast drawn thy last breath". SARA (nasal) "oh cursed prince thou hast drawn thy last breath’ CREWE Excellent. You'll do fine. THEY giggle - then pause, realizing it is another signal of their separation. CREWE reaches for the last package. CREWE This is something very special. SARA unwraps it carefully to reveal a beautiful doll with blonde hair and a pink lace dress. 16SARA oh my. CREWE She came all the way from France to be with you. Her name is Emily. SARA Emily.. CREWE You know dolls make the very best friends They love listening to all our problems. And did you know that when we leave them alone in our room - they come to life (SARA shakes her head in awe Yes, but they must keep they're powers a secret so they return to their places like lightening before we walk in and catch them, SARA Why don't they come to life in front of us so we can see? CREWE Because it's magic...Magic has to be believed.... That's the only way it's real. Dolls know all about magic and make believe. They're experts really For instance, when ever you get afraid or... or you miss me terribly....just tell Emily...and she'll get the message to me wherever I am...and then I'll send one back right away so that when you hug her... you'll really be getting a hug from me. SARA How wonderful..Don't you think I should have a doll for mother too so we can hug each other. CREWE (touched) I wouldn't worry. Something tells me your mother has her arms around you all the tine. CREWE embraces SARA and holds her close to him. EXT. SIMLA - DAY... A caravan of tongas and servants begin to load up SARA and 17CREWE'S belongings and make their journey down the mountain. SARA is being helped onto the tonga by her father when she spots LAKI standing by the main house with his mother. Suddenly, SARA jumps down and runs to LAKI, wrapping her arms around hin in front of the shocked British snobs. CREWE watches and, seeing SITA, decides “what the hell"; and walks over to his loyal nanny HE wraps his arms around her. SITA is both surprised and moved. The BRITS are aghast. CREWE whispers to SITA: CREWE I'll never be able to thank you enough. SITA, teary eyed, nods. Then, knowing what CREWE is thinking,: SITA She will be fine. CREWE nods appreciatively. Then he and SARA head for the caravan. CUT TO: EXT. SIMLA - MOUNTAINSIDE - DAY. The caravan makes it's way down the beautiful landscape AS WE: FADE INTO: EXT, NEW YORK HARBOR - DAY. A ship glides past the Statue of Liberty EXT. GRAMERCY PARK - DAY. Establishing shot of the beautiful tree lined square, which looks today almost as it did one hundred years ago. Brownstones line all fours sides, facing the tall, iron-gated park in the center. A horse drawn carriage drives up the block and stops in front of one of these brownstones. cur To: C.U. of BROWNSTONE. A plaque reads: MISS MINCHIN SEMINARY FOR GIRLS. Established 1856 CUT TO; INT. MISS MINCHIN'S SCHOOL - DAY. A four story building, decorated with heavy fabrics, ornate 18mouldings and lighting fixtures and modest yet finely made fur- nishings. There is a central hall with two parlors to the left and three connecting parlors to the right. Prints of paintings by Fra Angelico adorning the walls further emphasize the conser- vative and firmly moralistic aura of the place. A YOUNG COLORED SERVANT GIRL, BECKY, runs down the front hall and up the main staircase that leads to the student's rooms on the second and third floors. Carrying towels, SHE runs as if her life depended on it... cur To: INT. SARA'S BEDROOM SUITE - DAY. C.U. of a pair of veiny, female hands holding Emily. A female voice speaks in a disgusted tone: MISS MINCHIN (0.C.) Such nonsense. cur To: MISS MINCHIN - a respectable, pinched looking woman with cold, dead eyes. SHE stands amidst several opened trunks and boxes of toys...SHE is curt and commanding: MISS MINCHIN (annoyed) Ermine for a doll. And all these clothes. Thanks heavens we had a room big enough. MISS AMELIA And have you seen this sister. A mink evening rap...Is the Captain very rich? AMELIA is MISS MINCHIN's dumpy sister who is in awe of her elder. MISS MINCHIN Yes. Wheat plantations I think. And she's the only heir. His wife died in childbirth with their second. BECKY runs in and to the bathroom as MISS MINCHIN yells: MISS _MINCHIN :+.Where have you been? Anymore dawdling and they'll be no lunch today! A FRONT DOOR BELL RINGS as MISS MINCHIN crosses to her sister, who holds the mink rap.AMELIA They're here. MINCHIN (taking the mink rap) I'm sure no child at the Emma Willard School has such a rap. Make sure she wears this at the head of the line for church on Sunday. Go answer the door. Show them to my office. AMELIA sprints out the door. MINCHIN, alone with all of SARA'S fine things, takes a moment as she peruses them with a combina- tion of disgust and envy. SHE tosses Emily on the bed and exits. cur To: INT. MINCHIN'S OFFICE - DAY. AMELIA escorts CREWE and SARA into the office. AMELIA My sister will be down presently. We were just preparing the young lady's room. Your beautiful things arrived this morning. CREWE ‘Thank you...uh.. AMELIA OH! Heavens! Amelia...Amelia Minchin. My sister and I- At that moment, MISS MINCHIN ENTERS.... MISS MINCHIN Captain Crewe, how delightful to meet you.... (shakes hands w/CREWE And this must be little Sara...my what a beautiful child. CREWE beams but SARA immediately eyes MINCHIN with suspicion. AMELIA I was just telling Capt-... MINCHIN Thank you Amelia...that will be all. You must prepare for your history class... We wouldn't want Captain Crewe thinking the school mistresses had nothing better to do than to greet our guests.SHE laughs with great charm. CREWE smiles... AMELIA Yes of course..well..nice meeting you and welcome... SHE exits as MINCHIN takes her seat behind her desk. MINCHIIN Please sit..there are just a few preliminaries I'd like to discuss... To begin with, a little about our schedule. Students rise promptly at 6:30 every morning. Prayers are at seven, breakfast at 7:15 after which we perform calisthenics. ++, There's free time until 8:30 when classes begin...we cover all the subjects, english, literature, math, science, the Bible and music. Languages are also offered either French Latin or German... CREWE Oh well, Sara speaks fluent... But MINCHIN continues without pause, intimidating the captain: CREWE and SARA exchange a mischievious smile. MINCHIN ++sLunch is promptly at 1:30...0ne afternoon walk with a different partner for each day of the week is required after every lunch... Study Hall is carried on from 10 to 6:30. At 6:30 with have a lite supper after which I, or my sister, will give a reading from one of the classics - something the children always look foward to with great anticipation... SARA grimaces slightly, already dreading the thought. CREWE smiles and is about to speak when MINCHIN continues: MINCHIN Prayers are lead just before nine, after which the girls retire for bed. Sundays are a day of rest. Student are allowed to write - only to their parents and of course we attend church in the morning. Have you any questions? CREWE opens his mouth but nothing comes out so he shakes his head. MINCHIN doesn't bother to ask SARAMINCHIN Now, there are certain rules governing behavior that I feel we should all be quite clear about. The first is the Communication Rule - we feel that concentration...concentration is one of the greatest lessons to be learned therefore once the bell sounds for silence each girl is on her honor not to communicate with another either by word, look or manner, The Order Rule teaches the girls to attend to their rooms while the Tidiness Rule helps their girls in caring for their personal appearance. These rules are enforced with a certain degree of disciplinary stringency, but I can assure you Captain Crewe the results are well worth the effort Our reputation for sending the most charming poised and well educated young ladies into society is one of the highest. CREWE I've no doubt... MINCHIN Also, I'm afraid jewels and such finery are @ not allowed. We emphasize simplicity in dress, especially for children at this age. Touching her beloved locket, SARA thinks quickly. SARA Well...how about if I wear it during my free time in my room? That would be all right, wouldn't it? BEAT. MINCHIN hears this as as challenge, but won't break her demeanor. MINCHIN I'm sure that would be all right...if you absolutely insist.... SARA (polite, but firm) I do. MINCHIN pauses a moment...as her manner becomes, suddenly quite feminine: MINCHIN And now I come to the part that I find 22MINCHIN most...how shall I say...delicate to broach Payment... CREWE Oh yes...My solicitor in London...a Mr. Barrow...has instructions to send payments to you promptly every month. I want no expense spared for Sara.. (MINCHIN smiles) -+so anything she needs, you just let Mr. Barrow know at this number and he'll send you the necessary funds... HE hands her a card. MINCHIN is on cloud nine. MINCHIN. Thank you so much Captain Crewe for handling this with such aplomb. (giggles like a schoolgirl) I'm afraid money matters are just not a woman's forte CREWE Quite all right...May we see Sara's room now...? MINCHIN Yes of course.... just follow me.... MINCHIN exits as CREWE kneels before SARA, knowing what she thinks: CREWE Give it a chance darling, won't you? SHE nods. CREWE exits. SARA follows, briefly CHECKING HER ARMPITS for any self-conscious odors. cur To: INT. SARA'S BEDROOM - DAY. MINCHIN awaits CREWE and SARA - taking a moment to fold the mink rap she carelessly threw...CREWE and SARA enter. CREWE Oh this is splendid... MINCHIN It's our largest suite. 23CREWE Thank you Miss Minchin for all the care you've taken...Sara's mother graduated here. MINCHIN Yes, I've been told. Under my Aunt Agatha's regime, I believe... CREWE Yes. It's a special place for Sara to live, with me being away for while...I'd like her to feel as much at home as possible. MINCHIN Never fear. We'll take good care of her. Now, I'll let you two say your goodbyes - I'm sure you don't have that much time before your boat leaves... SHE exits. SARA turns to face her father. SHE tries to hold back the tears...As does CREWE. CREWE Now, we said we'd be strong about this. Little soldiers right? (SARA nods. HIS voice cracks)... Good girl. CUT To: INT. MINCHIN SCHOOL - FRONT HALL - DAY. MINCHIN descends the stairs as AMELIA crosses to her. AMELIA Has the Captain left yet? MINCHIN No, they're saying goodbye. I expect a child that spoiled will be kicking and screaming well into the night after he's gone. CUT BACK TO: INT. SARA'S ROOM - DAY. CREWE has SARA on his knee. SHE stares up at him. CREWE, What are you doing? Are you memorizing me by heart?SARA nods. . .HE SARA No...I already know you by heart... CREWE We'll write each other every day. (SARA nods) Do you like your room? (SARA nods) It's alot bigger than the one back home. embraces her. SARA Tell me a story...one last story before you go. CREWE tries hard to think of one. HE makes up the following: CREWE There once was a princess whose father, the king, had to lead his army off into battle to protect his kingdom from invasion. Now the king no longer had his queen...or any other children... so he left his daughter in charge of all his subjects and their problems... SARA listens, with her face snuggled up against his chest... SARA holds her fe CREWE :+.Now even though the princess was a little girl, she was very grown up... and was always very kind and fair and helpful to people...but she was frightened of being left alone...so, the king sent his magician to her with gifts that would help her in those times...he gave her a magic locket ... locket to her chest. CREWE ++..that held a picture of a beautiful fairy whom the princess could always call upon when she felt alone... He left her a very special book ... SARA looks to her BANCROFT BOOK OF FANCY, on the table. CREWE -+-which held great secrets...it taught her that she is never really alone - 25CREWE that there is magic all around her... Even the wind and lightening that. sometimes frightens her, were really her friends - sent there to protect her. And all she would have to do is to open the book to any page, and she would find the answers she needed...and lastly, he left her a magic doll.. SARA cuddles EMILY on her lap. CREWE who would hold her in his absence and who would send her his love while he was away... And you know what?...The princess became a great lady, respected and loved by all who knew her...and she and her kingdom lived happily and safely until the king returned. SARA (cries) I love you daddy...1I'1l be fine.. I promise...don't worry.... CREWE holds her even closer - almost crying. EXT. STREET - DAY. CREWE steps into the street and looks up at SARA. If he stands there too long, he might break down. So he smiles bravely, gives a wave, hops into his carriage and drives off. cur To: INT. SARA'S ROOM - DAY. SARA sits on the window seat with Emily. EXT. SARA'S ROOM - DAY. MISS MINCHIN stands listening at the door - readying herself for SARA's "tantrum"...but none comes. SHE knocks: MINCHIN Sara...Sara, it's Miss Minchin. Is everything all right? 26SARA (OC) (very adult) Yes Miss Minchin.. MISS MINCHIN Is there anything you need my dear? SARA (0.C.) No...I'm very tired from the trip though. I think I'll just go to bed thank you. MINCHIN very well. MINCHIN walks a few steps away until she hears SARA locking the door to her room. MINCHIN regards this gesture with annoyance. cur To: INT. DINING HALL - MORNING. WIDE ANGLE ON a long oval dining table that seats twenty girls, ranging in age from five to twelve - all of whom are talking about the newest arrival. cur To: ‘TWO FIVE YEAR OLDS: RUTH & LOTTE ee RUTH Her name is Sara and she's not from here... LOTTE (staring at her head) I want your hair ribbon. cur 70; TWO SEVEN YEAR OLDS: JANE & JOSEPHINE JANE Her father grows crackers or something. ++.They're very rich... JOSEPHINE They must be. Everyone I know eats crackers. cur To; TWO TEN YEAR OLDS: BETSY & GERTRUDE 27BETSY :++Of course she speaks English. Everyone in America has to speak English or they don't let you in the country. LAVINIA, the twelve year old leader of the older children sits beside them, next to her sidekick, JESSE...LAVINIA is every little's girl's nightmare - a mean, two faced, bully... LAVINIA (lying) I heard her father was thrown out of India becaused people died from eating his poisoned crackers... JESSE (emphasizing for GERTUDE) Poisoned crackers... GERTRUDE Really? I once had an aunt who died from eating poisoned string beans. LAVINIA, Oh, who cares about her. MISS MINCHIN and AMELIA enter: MINCHIN Good morning girls... LAVINIA quickly changes from threatening to sunny: LAVINIA AND OTHERS Good morning Misses Minchins... MINCHIN As you know, we have a new pupil with us and I'd like you to all make her feel right at home... cur To: INT. SECOND FLOOR HALLWAY - MORNING. Late, SARA rushes out of her bedroom stilling tying her hair ribbon. SHE closes the door, takes a step then suddenly pauses to turn back and peek through the keyhole... cur To; POV - KEYHOLE:SARA is looking at her doll EMILY, sitting quietly on a chair, hoping to catch her come alive. CUT BACK TO; INT. STAIRCASE - MORNING. SARA shrugs it off, and hurries down the stairs...On the wall alongside the staircase are several framed photographs from past graduating classes. SARA's curiosity gets the better of her as she searches for her mother's class. She finds it in the middle of the wall, perusing the names under the photo She stares at her mother's bright youthful face smiling... MINCHIN (0.C.) Sara! Sara jumps. MINCHIN stands at the bottom of the stairs. MINCHIN We are not accustomed to delaying everyone's breakfast for one student. SARA (coming down the stairs) I'm sorry Miss Minchin, but I found- MINCHIN Having lived as an only child, I can excuse you this time. But you're not the only child under my care here Sara - you must remember that. SARA I understand. It's just that I found- At that moment, MONSIEUR DUFARGE - a round, perpetually flustered languages professor - enters the front hall... MINCHIN (stilted accent) Bonjour Monsieur Dufarge. Comment etes-vous aujourd'hui? DUFARGE (slightly annoyed) Yes..yes..good morning to you Miss Minchin. I loathe this city. That's how I am! It's getting much too crowded. can you imagine - it took me over five minutes to hail a taxi MINCHIN Monsieur DuFarge - may I introduce you 29MINCHIN to our newest pupil..Sara Crewe Sara, this is our language professor - Monsieur Dufarge...You'll begin your French lessons with hin this afternoon. SARA (disappointed) Oh.... Do I have to? MINCHIN Sara! You most certainly do! And I think you should apologize to Monsieur Dufarge this instant for your rudeness. DUFARGE. (disinterested, hungry) It's quite all right. Is breakfast being served? SARA I'm sorry. I didn't mean to be rude. My father tried to tell you yesterday... MINCHIN I don't see what your father has to do with this - except for spoiling you to @ such an extreme that you think yourself above such opportunities as learning a second language..Now apologize. SARA obliges. She turns to DuFarge and speaks in French: SARA Monsieur Dufarge...Je regrette d'etre mais je sais parle Francais... J'ai etudie dans India avec mon pere, qui habitue dans Paree pour trop ans quand il etait un petit garcon. DUFARGE and MINCHIN are stunned by this exhibition. MINCHIN is steaming. DUFARGE This child doesn't need to learn French. She practically is French...She learned it from her father. MINCHIN (annoyed) I understood perfectly well what she said, Monsieur DuFarge!SARA I'm sorry but we tried to tell you. DUFARGE Perhaps she can help tutor the younger children... MINCHIN Perhaps. DUFARGE, She might even be able to help you with your pronounciation, Miss Minchin... Are thoses sausages I smell....? DUFARGE exits into the dining room. MINCHIN and SARA stare at each other. MINCHIN I'm afraid we've gotten off to a bad start, Miss Crewe. SARA I am sorry. I didn't mean- MINCHIN I hope you enjoyed your little joke at my expense. SARA But I didn't.... MINCHIN Go to breakfast..And not another word. SARA reluctantly exits. MINCHIN pauses for a moment, filled with resentment. SARA ENTERS THE DINING ROOM, which immediately falls into silence. SARA takes a long look around the table at every face staring at her. All the girls sit like statues, staring at SARA - their eyes glued to her every move. SARA experiences that moment every child knows, when he or she is the new kid in class or the new kid on the block. Feeling like an alien from another planet, SARA bravely takes a deep breath and enters... CUT TOINT. FIRST PARLOR - MORNING. The girls are lined up in four rows of five performing their calisthenics with Miss AMELIA, who demonstrates as she speaks: AMELIA Reach for the toes...then up to the sky..then down to the toes... The girls follow suit. Mischievious LAVINIA, however, motions to her neighbor JESSE that a PUDGY GIRL with pigtails is directly in front of her and decides to have some fun...Everytime, LAVINIA reaches for the sky, she stretches out a little further and hikes the PUDGY GIRL'S DRESS up over her rear. The PUDGY GIRL is then always a count behind, having to pause on the way up to pull her skirt down...JESSE and the others in LAVINIA'S gang giggle secretly. Except for SARA, who finds it horrible. SHE notices the PUDGY GIRL is begining to cry and feels awful for her. AMELIA All right girls...take a breather Everyone breaks rank. LAVINIA is swarmed with admirers, laughing about her prank. The PUDGY GIRL moves off to the side alone, to hide her shame. SARA walks right up to her, gently touching her hand, whispering: SARA Don't cry...They're not worth the effort. AMELIA (OC) SARA! SARA turns. The PUDGY GIRL jumps. All the others fall silent. AMELIA Since this is your first day, you'll be excused, but please remember the Communication rule - no speaking during class either by word, look or manner. Do you understand? SARA realizes it would be best not to explain, s: SARA Yes. I'm sorry Miss Amelia. LAVINIA and her gang are pleased that SARA got caught.Beyond the parlor doors, BECKY passes by with two arm fulls of stacked dishes, as she heads for the kitchen. SARA is amazed at her balance.... AMELIA Sara...please..pay attention. SARA returns her focus to the class. AMELIA Now....we shall do our breathing exercises. Proper breathing is imperative to poise, grace and a calm, enchanting demeanor. 0.C we hear the CRASH of plates. Nervous AMELIA screams: AMELIA AAAAHH!... Everyone jumps. AMELIA composes herself. AMELIA Wait here girls.... SHE exits to see what has happened. Once she is gone, LAVINIA and her gang seize the opportunity to crowd around SARA. cur To: INT. KITCHEN - MORNING. Poor tired BECKY has dropped the plates. MABEL - a rotund, mean spirited cook - is hitting her with a dish rag. MABEL Look at this mess. Look at my kitchen floor! AMELIA enters. AMELIA What's going on? What happened? MABEL This stupid girl... AMELIA Well just get it cleaned up before my siste: returns from the bank. Oh I hate Tuesdays... At that moment, FRANCES the milkman enters through the kitchen's back door. AMELIA, enamored with FRANCES, immediately supresses her flustered mood and fixes her hair. a}FRANCES Morning Miss Amelia. AMELIA (girlish) Oh...Good morning Frances.... INT. PARLOR - MORNING. LAVINIA grills SARA as the others watch. LAVINIA, So how rich is your father? I bet he's not as rich as mine. SARA (cool) I hardly care. LAVINIA. My father says there are too many foreigners in America now - that we should send all of you back to where you came fron. SARA Well then, your father would be sent away too ~ unless of course, he's an Apache. Giggles from the younger girls not in LAVINIA's group. cur To: INT. KITCHEN - MORNING. AMELIA and FRANCES are enrapt in each other's gazes over the bottles of milk. FRANCES You're looking very attractive today Miss Amelia..if I may say so. AMELIA Oh..well...it's thanks to your milk, we're all very healthy with good complexions. You must get tired carrying those heavy bottles around all day.FRANCES. Not me, ma'am...I got two strong arms. Go ahead... (flexes his muscle) Feel that. AMELIA Oh no Frances...I couldn't. FRANCES. Go on...It'11 do you good. AMELIA gently touches his bicep and giggles...Then touches it again and giggles some more... MABEL and her silent kitchen partner - a tall, lanky girl named URSULA...stare dumbfounded at this odd dance of courtship. CUT TO: INT. PARLOR - DAY. The face-off between SARA and LAVINIA has shifted to the table. SARA and LAVINIA sit opposite each other ARM WRESTLING as the other girls cheer around them. LAVINIA tries to taunt hei LAVINIA I think your hair is stupid looking. SARA Coming from your mop head, that's a compliment. THEY strain to beat each other. JESSE stands by LAVINIA's side. SHE rolls a tiny piece of paper up into a ball, puts it in her mouth and spits it into SARA'S eye...SARA is distracted by it for a moment, and LAVINIA slams her arm down. Her gang cheers. LAVINIA I won. SARA You cheated. LAVINIA, Are you calling me a liar? SARA Well if you have to ask then you're also an idiot. Didn't anybody else what she... (pointing to JESSE) 35No one helps her. SARA What are you all afraid of? LAVINIA stands proud. SARA It can't be HER... (meaning LAVINIA) She's nothing but alot of bull-do in a petticoat! LAVINIA sees red and lunges for SARA. But SARA deftly side steps her and trips her. LAVINIA falls flat on her face. The younger girls are delighted, but hide their smiles. JESSE is worried. JESSE Oh-oh... LAVINIA gets up - enraged - picks up a vase by the table and hurls it at SARA, who ducks: CUT To: INT. FRONT HALL - MORNING. MISS MINCHIN enters, home from the bank and hears A CRASH. SHE marches into the parlor... cur TO: INT. PARLOR - MORNING. MINCHIN enters. The girls part the way. The broken vase lies by the wall. MINCHIN What is going on here! Who broke this vase? LAVINIA Sara did it! SARA is caught off guard. Too shocked to deny. MINCHIN Is that true Sara? SARA, knowing MINCHIN doesn't like her anyway, doesn't know what to say unti 36PUDGY GIRL It was an accident Miss Minchin. Everyone is surprised that this girl has come to SARA's aid. MINCHIN Well then why don't you explain it to me Ermengarde. SARA makes a mental note of her name. ERMENGARDE didn't count on this request from MINCHIN. She stands transfixed. BETSY I'll explain it Miss Minchin It wasn't Sara's fault at all... LAVINIA glares threateningly. BETSY glares back in defiance. Everyone holds their breath in aniticipation... , BETSY It was Lavinia. LAVINIA LIAR! The room is immediately divided into two camps, both yelling at each other. MINCHIN'S cry throws them into silence. MINCHIN QUIET! I'll see Sara and Lavinia in my office. And where, might I ask, is Miss Amelia? cur To: INT. KITCHEN - DAY. FRANCES and AMELIA sits at the kitchen table. FRANCES offers her a glass of his buttermilk. FRANCES You won't taste buttermilk like that any where on earth. AMELIA Your confidence is inspiring. She sips the milk as MINCHIN enters and yells: MINCHIN AMELIA! AMELIA is shocked into spitting out the buttermilk all over the 37floor. BECKY, just finished cleaning from her accident, grimaces at this new mess. cur To: INT, MINCHIN'S OFFICE - DAY. SARA and LAVINIA sit before MISS MINCHIN, who is waiting for an explanation MINCHIN Well.... LAVINIA Sara picked a fight with me and when I wouldn't repsond, she threw the vase at me. SARA looks at her dumbfounded, then says calmly: SARA Lavinia, if you ever decide to tell the truth let us know so we can inform the newspapers... MINCHIN What is your story Sara? SARA It's the same as Lavinia's only switch the parts. MINCHIN Well, all I can say is Lavinia has been with us for several terms and I do not recall an incident like this ever happening before. Which leads ne to believe, Sara that the responsibility lies with your influence. I shall bill your father's solicitor for the vase. I will not disturb your father as yet with such disappointing news but if anything like this happens again, I assure you I will...You may both go now... LAVINIA, Thank you Miss Minchin... LAVINIA heads out with a disgruntled SARA following. cur To: INT. SARA'S ROOM - DAY.During her free period, SARA - wearing the locket that CREWE gave her - sits curled near the window with EMILY, writing a letter to her father... SARA Dear Daddy...I miss you already. I hope you are well. Everything is fine here except that everybody in America seems to be mad at me...in the same way that Clara and her mother back home were always mad. I don't see how you can go from one end of the world to the other and still meet the same people.... Suddenly, from 0C, she hears screaming and crying coming from the room next door. Annoyed that she is unable to write, she slams the book shut and exits in a huff to investigate. cur To: INT. LOTTE'S ROOM - DAY. LOTTE (FIVE YEAR OLD TWO who wanted her friend's hair ribbon is on the floor kicking and screaming and throwing a full scale tantrum. SHE too has many fine clothes and toys. A flustered Miss AMELIA tries in vain to calm her down... AMELIA Now. .now...Lotte, you mustn't get so upset...Dear...little angel...sweetheart LOTTE screams and kicks without a pause. SARA appears in the doorway and watches nervous AMELIA try any approach she can: AMELIA -+,Lotte precious...dear... (suddenly threatening; You wicked destestable little girl...1'11 shake you...I will...I'll throw you out the window and you'll be trampled on by a horse... (changes to pleading) Oh please...please...I'll have to call Miss Minchin...you don't want that do you? please stop screaming dear... SARA Miss Amelia... AMELIA (Jumps) Oh Sara....yes dear....can I help you? 39SARA Perhaps I can try and calm her down. AMELIA (relieved and hopeful) Oh..Oh, isn't that nice of you...None of the older girls take any interest in the younger ones..they're are all on our shoulders alone, you know...It would be wonderful if you could have an effect. SARA I'm not sure but I'll try... AMELIA (wanting to get out) You do that and I'll check back in a few minutes... (LOTTE lets out a giant scream) Children would be such a pleasure if they could only be domesticated... AMELIA exits....LOTTE keeps screaming and kicking without a care for what goes on around her. SARA sits on the floor beside her. LOTTE pauses a moment to take in this new spectator. Then just as quickly, resumes her tantrum as if for a new audience. SARA (unsentimental and mature) You, know, I can't write a letter with you carrying on like this...Why are you crying? LOTTE I can't write to my mama... because I haven't got any mama!! SHE begins kicking and screaming all over again but SARA remains unphased. SHE responds with great poise and detachment. SARA Well, I haven't either. -Surprised and interested. LOTTE You haven't?...Where is she? SARA In heaven with my baby sister.... But she comes to visit me all the time to see if I'm all right. So does yours...we just don't see them. 40LOTTE Really?...Then how do you know? SARA Because I know. I know she has beautiful wings and a crown made of angel hair. And she lives with my baby sister and your mama in a castle that sits in the middle of a field with hundreds and hundreds of lilies...and the sun is always shining. It's never ever dark and it's always the perfect temperature... LOTTE listens, fascinated, as SARA makes it up as she goes along. SARA ++.and no one ever gets tired there because no one ever walks..No. They float wherever they want to go...And the wind carries them along with the scent of all the lilies to these little windows in the clouds where they can look down and see if we're all right... and where they can send little messages to us...of course, you can't hear the messages if you're kicking and screaming as loudly as you were. LOTTE looks worried suddenly that she missed a message so SARA modifies this claim: SARA +++But they always try again, just in case we have missed it... LOTTE (smiles a bit) I want to go there..It sounds lovely. SARA How would you like to come into ny room instead and meet Emily? LOTTE eyes glow. EXT. LOTTE'S ROOM - MORNING. ERMENGARDE has been listening outside LOTTE'S door. When she hears SARA and LOTTE coming out, she scampers down the hall and out of sight. SARA exits with LOTTE and crosses to her own bedroom door, but pauses before entering to peer through the 4.keyhole, trying to catch EMILY in motion. Seeing nothing: SARA She's fast! BECKY makes her way up the stairs, exhausted - still with a full day ahead of her. SARA and LOTTIE turn to her. SARA smiles. SARA Hi..my name is Sara...We haven't met yet. Both BECKY and LOTTIE are surprised by the introduction BECKY doesn't know how to respond, so she scampers away - running through a doorway that leads up to the attic. LOTTE That's Becky. She's not allowed to talk to us. SARA Why not? LoTTE She's a servant girl...and she has dark skin. SARA so? LOTTE (confused) Well...doesn't that mean something? cur To: INT. ATTIC LANDING - MORNING. The staircase leads up to a landing with two attics doors. SARA ventures up alone, and walks towards the door that is slightly ajar. She enters boldly. cur To INT. BECKY'S ATTIC ROOM - MORNING. BECKY sits on her cot, her swollen feet out of their worn shoes. SHE stands immediately upon seeing SARA... SARA HI!...I know I'm not supposed to-...SARA steps into the room and is overcome by the state of it: dingy, dark and dirty with none of the comforts that she knows. SHE looks to BECKY with an expression that cannot hide her shock. SARA What an awful room. BECKY is ashamed. SARA realizes her rudeness. SARA oh...I'm sorry...I...I should have knocked. BECKY Is there anything I can do for you, miss? I just came up to change my shoes... SARA notices that BECKY is merely changing from one worn out pair of shoes to another. SARA No..no..there's nothing. BECKY (never raising her eyes from the floor) Well then...begging your pardon...but we'll both be in trouble if you stay... SARA understands and exits, closing the door behind her. CUT TO; EXT. BECKY'S ATTIC ROOM - MORNING. SARA feels awful for her blunder. She heads downstairs. cuT To: INT. CLASSROOM - DAY. MISS MINCHIN leads her class in math, reciting their timestables. MINCHIN & GIRLS Three time three is nine, three times four is twelve. LAVINIA, of course, sits in the front with JESSE and the three older girls in her gang - VICTORIA, PENELOPE and REBECCA - all in a row SARA, in the back, searches the room for ERMENGARDE - who sits on the other side, counting a beat behind every one else. SARA keeps looking at her in the hopes she will turn around. 43ERMENGARDE, feeling someone eyes on her, turns as SARA raises her book to hide her face and puts on a HUGE SMILE... ERMENGARDE reacts with something akin to terror. Then SARA mouths the words THANK YOU...and ERMENGARDE loses her place in the timetables even more... ERMENGARDE Three times ten is eighty-one... MINCHIN Ermengarde! ERMENGARDE stiffens up. INT. ART CLASS - DAY. All the girls are at their easels, free painting. LAVINIA is doing a self-portrait...BETSY, a gutsy ten-year old, is attempting an abstract...ERMENGARDE is desparately trying to draw a house and SARA is drawing spirits and fairies in a forest. Once again, she catches ERMENGARDE'S eye and, making sure MINCHIN doesn't see her - produces a BIG SMILE for ERMENGARDE, who is so confused by the show of friendly attention - her brush wanders off her easel as she stares at SARA and paints JESSE'S ARM. JESSE Hey! ERMENGARDE re-aims her brush... CUT TO: INT. HALLWAY - DAY. All the girls are dressing in their coats to take their afternoon walk...giggling and talking throughout. MISS MINCHIN arrives, already coated: MINCHIIN All right girls...pair up..pair up.. All the girls scramble towards their favorite person. ERMENGARDE takes a step back, knowing no one will want to partner with her. But SARA walks directly to her. SARA Hello...can I be your partner today? ERMENGARDE is stunned. SHE takes a step back and falls into the hall closet. SARA helps her out. 44SARA Well. May 1? ERMENGARDE can barely nod her head in approval... SARA Good... (taking a hold of her arm) Ermengarde...Do you know there was a very famous mermaid named Ermengarde... ERMENGARDE No...I didn't... SARA (begins telling a story) Well, she was quite the beauty, this mermaid...And one day-.... MINCHIN We will pay attention to our Communications Rule this afternoon, won't we Sara... SARA Yes Miss Minchin... On their way out, SARA looks up to the second floor landing and spots BECKY heading for her attic. SARA smiles to herself as she exits... cur To: EXT. MINCHIN SEMINARY - DAY. The girls file out doors to a beautiful, crisp fall day...The park across the street is filled with autumn colors... CAMERA PANS UP to WIDE ANGLE. cur To: INT. BECKY'S ATTIC - DAY. BECKY climbs the stairs to her attic door and finds a small box, prettily wrapped with a paper...SHE opens the paper and reads: SARA (VO) Dear Becky...please forgive my intrusion. I hope we can still be friends....Sara... BECKY opens the box and discovers a pair of FURRY SLIPPERS. She enters her room with them, sits on her bed, pushes off her 45own shoes and slides her feet gently into the slippers. CAMERA ON her FACE as she crosses her eyes in ectasy.. cur 1 EXT. NEW YORK STREET - DAY. MINCHIN leads her girls for their daily walk. SARA looks about her like a child in a fairy world - everything is so new and different from her home, she takes it all in as if she couldn't look at it hard enough. We see New York 1915 through her eyes... cur To: EXT. FIFTH AVENUE - DAY. The clean upper class streets impress SARA who knows only the dirt streets of India. Elegant men and women take an afternoon stroll....manicured dogs....wealth and good living cuT To: EXT. MARKETPLACE - DAY. Vendors shout their wares, shopkeepers clean in front of their stores...horse and buggies fill the streets with energy. the hustle and bustle of the city begins to infect SARA.... A WOMAN selling HOT PRETZELS smiles at SARA. WOMAN What a pretty young lady...care for a pretzel!? SARA is enchanted but MINCHIN warns: MINCHIN Keep up with the others Sara. Don't dawdle. SARA smiles back at the woman and continues walking. SHE passes a curious ALLEYWAY. HER eye catches something bright. cur To: POV - the ALLEYWAY. The marquee of a PENNY ARCADE. CUT To: SARA and ERMNGARDE. SARA whispers her question: SARA What's that? 46ERMENGARDE checks to see that MISS MINCHIN's back is to them, as she leads the girls, then whispers to SARA: @ ERMENGARDE That's a penny arcade... SARA A what? BETSY (leans in from behind Moving pictures...You never heard of moving pictures...? SARA shakes her head... GERTRUDE I heard of them but I never saw one. The girls continue walking but SARA can't get the thought of moving pictures out of her mind. MINCHIN leads the girls around a corner and stops by a fruit merchant to purchase fruit. SARA GETS AN IDEA. When she and ERMENGARDE reach the corner, she puts her hand in front of her and pulls her back. ERMENGARDE What are we doing? & BETSY and GERTRUDE, the last duo behind SARA and ERMENGARDE, realize her idea immediately and follow suit. SARA and BETSY peer around the corner to SEE : MINCHIN busy chosing fruit with the aid of brown-nosing LAVINIA and JESSE, while the other girls wait patiently. SARA and BETSY lead their respective partners back to the alley SARA Come on.... EXT. ALLEY - DAY The girls walk cautiously down the alley to the penny arcade. GERTRUDE I don't have any money. SARA That's all right. I have plenty for all of us...I'm Sara. 47BETSY I'm Betsy and this is Gertrude. ERMENGARDE stops. SHE won't go in. ERMENGARDE I can't. My father will punish me if he finds out. SARA (startled) You don't mean that? (ERMENGARDE nods) I've never heard of such a thing. Why, my father would just as soon punish me for being curious as he would hit a puppy for barking. ERMENGARDE My father doesn't like puppies. He doesn't think too much of me either. He's already mad at me for being stupid at all my lessons. SARA Well, I'm tutoring French and we'll just make sure your not stupid at that so your father can't complain... Now come on...I promise you he won't find SARA pulls her in... CUT TO: EXT. FRUIT VENDOR STAND - DAY. LAVINIA is the first to notice SARA and the other girls! disappearance. LAVINIA, Miss Minchin...Sara's gone. MINCHIN (looking) What? LAVINIA I bet she took the other girls and forced them to run away with her. JESSE Yes. I thought I heard screams.. 48 out.